A movie about desires turns into the stuff of nightmares in Netflix’s utterly misplaced “Slumberland,” an try and assemble a sprawling fantasy journey from the bones of early Twentieth-century newspaper comics. Most notable as a automobile for Jason Momoa, this budding present from “The Starvation Video games” director Francis Lawrence options loads of particular results desperately seeking a narrative.
The plot begins with a well-known youngsters’s film setup: a younger lady named Nemo (Marlow Barkley, in a gender-swap from the comics) dwelling in a lighthouse away from the world along with her caring father (Kyle Chandler). When Dad is misplaced at sea, she is distributed to stay along with her buttoned-up uncle (Chris O’Dowd) within the massive metropolis, discovering escape in her desires.
The Realm of Goals is described as “a world of no consequence”, however because it’s constructed it comes throughout in a movie with no clear artistic compass, proving to be extra mystifying than magical. Alternately goofy and sappy, the traditional elk is embodied by Momoa’s Flip, who resides within the dream world and, together with his horns and hat, resembles an unholy cross from the Mad Hatter, the Ghost of the Christmas Present and a refugee from the island of Dr. Moreau.
Nemo and Flip embark on a collection of adventures seeking a valuable artifact, with the promise that by tracing the desires of others, she’s going to one way or the other have the ability to see her father once more. Alongside the best way, they run into one thing referred to as the Bureau of Unconscious Actions, a surreal paperwork that views Flip as an outlaw.
Netflix has already made an enormous guess on desires with ‘The Sandman’, however the basic conceit right here is essentially harking back to the traditional ‘Time Bandits’ film, although any comparisons largely mirror how troublesome this mix of caprice and irreverence is. to grasp, and the way clearly “Slumberland” falls brief.
Maybe at the start, it is unclear who “Slumberland” is aimed toward, except for Momoa followers and a youthful viewers numb sufficient to video video games, maybe, to be dazzled by the creative design of the manufacturing and untroubled by the finesse of the story.
Streaming providers are clearly dazzled by the advertising worth of star energy, and Momoa — who appeared reverse one other dreary “Candy Lady” final 12 months, in addition to earlier collection “Frontier” — as all the time gives a healthy dose. These attributes really feel wasted, nonetheless, within the surreal confines of “Slumberland,” which, because the amusement park names say, is not even thought of a nice place to go to.
“Slumberland” premieres November 18 on Netflix.